


It's All Happening

by animmortalist



Category: The 100 (TV), The 100 Series - Kass Morgan
Genre: 70s AU, Alternate Universe - Historical, Alternate Universe - Rock Band, Angst, Bittersweet Ending, Daisy Jones and the Six AU, Enemies to Friends to Lovers, F/M, Idiots in Love, Music, Sex Drugs and Rock and Roll, TW alcoholism, it's about the hands, painnnnnnn, tw addiction, tw drugs
Language: English
Status: In-Progress
Published: 2021-01-03
Updated: 2021-01-03
Packaged: 2021-03-10 18:27:43
Rating: Mature
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 3,130
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/28481649
Author URL: https://archiveofourown.org/users/animmortalist/pseuds/animmortalist
Summary: Bellamy Blake's dedicated to his sobriety and wife Gina. Clarke Griffin's dedicated to her next high and teetering on the edge of collapse. What they share is an all-encompassing love of music. AsClarke Griffin and The Six, they, along with Octavia, Harper, Monty, Murphy, and Miller, become legends. Against the glittering backdrop of the 1970s, the band will learn what being a rock god truly entails, and what happens when you find your soulmate at the exact wrong time.*on hiatus*.
Relationships: Bellamy Blake/Clarke Griffin, Bellamy Blake/Gina Martin
Comments: 6
Kudos: 21
Collections: The t100 Writers for BLM Initiative





	It's All Happening

**Author's Note:**

  * For [BellamyWanheda](https://archiveofourown.org/users/BellamyWanheda/gifts).

**Notes for the Chapter:**

> Hi lovelies! This is the last new WIP I'll be posting this month (and for the very, very long foreseeable future) as part of me cleaning out my t100fic4blm prompts. I am so excited to share this story with you though. I read _Daisy Jones and The Six_ and completely fell in love with it. This might be an unconventional take on a fic, but I hope you're willing to go along with me. 
> 
> Thank you again to all the wonderful people who read, leave kudos, comment, or anything else. You really keep me going and I am so, so thankful for that. That said, if you have any hate, please keep that to yourself as it doesn't do any one any good. 
> 
> For those of you who don't know, there's an amazing initiative going on in t100 fandom called t100fic4blm. This story was written for this cause, and I am currently accepting prompts for wip updates. Find out how you can prompt a writer or content creator with our carrd [here](https://t100fic-for-blm.carrd.co/). 
> 
> Find the playlist [here](https://open.spotify.com/playlist/6ipq6roLRbk3bQ26lIAKft?si=dQySWfC8TUyT90J-2fmPbw).
> 
> Sending all the love and good thoughts to you 💜

_The following is an excerpt from the best-selling novel,_ Clarke Griffin and The Six, _which chronicles the band’s rise to fame and seeks to answer the time old question of their mysterious end at the height of their fame. The author interviewed the band and those close to its members extensively for research. All words are their own._

**Monty Green (bass):** I gotta say, I’m kind of surprised you reached out to me about all of this. Not that I don’t appreciate it, but that part of my life is pretty much entirely behind me. I mean, it’s been...Damn, it’s really been almost thirty years since the band ended, huh? What you’ve gotta understand about all of us back then...It was the music, but it was us, too. 

I don’t know if I believe in fate anymore, but I did, back then. Completely. I thought it was fate that brought us all together. Me. Bellamy. Octavia. ( _Pause)_ Harper. Miller and Murphy, too. The band was a family, to me, I guess. But that’s who can hurt you the most, you know?

**Octavia Blake (rhythm guitar, second):** Bell and I grew up playing music. It was in our bones from the start. We played weddings, birthday parties, even a retirement party once. I know my playing could never rival his, but he never mentioned that. Never even entertained me not being right there alongside him.

His dad leaving and then mine really had an impact on him. He never talked to me much about it. Probably because he didn’t want to make me sad or whatever. He could’ve, though. I could’ve let him know it was okay for him to talk about it. 

When our first album hit, we felt like we could conquer anything. We were invincible. 

**Nathan Miller (drums):** Of course, everything changed when Bellamy had to go to rehab after our first tour. That needed to happen though, everyone knew that. The guy was a mess. He couldn’t handle any of that stuff. But shit, when he was on, he was something else. There was a reason he was in charge, after all. I think, back then, part of me just appreciated being a part of any of it. 

I used to call that time the Fall of Change. Because just as Bellamy got out, rip roaring and ready to go on our second album, that’s when Kane and Gabriel brought in Clarke. She was...Well, right from the start I knew there was gonna be issues. 

**Harper McIntyre (keys):** It was kind of impossible not to love Clarke, once you met her. Even though she made it difficult as all hell. I guess we all made loving each other difficult, honestly. In those early days, we had no idea what we were doing. We were trying to be something that wasn’t even real yet. I know I could’ve done better. Even later. It’s easy to look back and have regrets, even though I don’t believe in those. I...Has Monty mentioned anything about me yet?

**Gabriel Santiago (manager):** The band needed something, or rather, someone. They didn’t know it, and Bellamy certainly didn’t want it to be true, but it was. If they wanted to be something amazing, if they wanted to be the biggest goddamn band in the world, then they had to listen to me and Kane. They didn’t, for the most part ( _laughs_ ) but I guess when you’ve got that kind of genius at that young, it’s hard to make yourself listen to the old guys.

Bringing Clarke Griffin and Bellamy Blake together will go down as the best and probably worst thing we ever did. 

**John Murphy (rhythm guitar):** Look, it was Bellamy’s dictatorship and we were all just trying to survive it. Sure, it was kind of fun with Clarke at first, but of course, that changed after a while. The thing is, I wanted it to be all about the music, and it seemed like I was the only one who cared. The only one in the whole freakin’ band that needed things to be about the music, and not about the ego or Bellamy or Clarke or Bellamy _and_ Gina. Or hell, Bellamy and _Clarke_.

Fucking hell. I might need a drink if we’re gonna keep talking about this. 

**Raven Reyes (singer, friend of Clarke Griffin):** That girl’s [ _Clarke’s_ ] parents were the artist-types. A good time and everything but...She was on her own. Moved out of their place at thirteen and in with me. She told me they never noticed she left. I was doing my own thing, you know, disco was still taking off, and my manager was feeling great about me. By the time The Six happened for Clarke, I was mostly based in New York. But we still talked on the phone once a week. I made sure of that. 

* * *

Bellamy gets out of rehab in September of 1973, sixty days after his daughter, Julia, is born. 

Octavia and Monty, his brother in all ways but blood, and his producer (the kick in the ass he needed to make him go to rehab in the first place), Kane, pick him up. In Kane’s Cadillac, they take him to the house he bought Gina right after they got married. And his daughter, too. She’s two months old and he’s never met her, and now, he’s freaking out at the prospect. 

They reach the house after about the longest hour in Bellamy’s life. It’s a one-story in Southern California, close enough to the beach he can smell the sea air. 

Kane opens his car door for him and he gets out. He tries to keep moving, but it doesn’t work. Instead, he stares at the house, unable to bring himself to go further. Trying to tell himself that he’s not a failure, that he’s something, and he’s gotta be there for his girls. 

“You’ll be great,” O says and claps her hand on Bellamy’s shoulder. 

Bellamy gives her a long look. 

“Get your ass in there,” Kane tells him.

He takes a breath, and then another.

Then he makes his way up the front walk, to the door that will lead him to the most important thing he’s done and will ever do. 

Gina’s inside, washing dishes, swaying to some Patsy Cline song. She turns around and sees him and smiles so damn wide it takes his breath away. He’s struck with the love he has for her. She believes in him still. Even after sleeping with any woman who came his way and the drugs and the booze. He’ll never deserve her, he knows this. 

But, fuck, is he grateful he didn’t lose her. 

She kisses him forcefully, enough that he takes a step back. She laughs against his mouth and they part. He stares down at her and feels all the songs he wrote for her while at rehab well up inside him again. Gina is a goddamn miracle, and he can’t believe he lost sight of that. He promises himself, right then, and maybe for the fiftieth time, that he will never forget that again. 

“Would you like to meet your daughter?” she asks. 

He nods, feeling too nervous for words. Too many doubts cloud his judgment, and for a moment, he considers running again. That isn’t an option though. Not this time. Gina might’ve allowed it when he checked himself into rehab the day she gave birth, but he knows she won’t go around on a carousel of misery.

His dad might’ve never stepped up, leaving him behind, and then O’s dad followed, but he can. He will. Even though he has no idea how to be a father. His baby girl needs him to be her dad.

He has a baby girl.

Gina leads him into the nursery. It’s decorated all nice, warm, homey. He can see the care Gina’s put into every inch of it. For the thousandth time, the shame of not being there for any of it hits him. Bellamy has to cough to push it all back down. 

“If she’s sleeping…” he trails off, unsure of where he’s even going with it. 

He doesn’t want to think about what that means. If he does, he’ll know he’ll go right back to Jameson and the coke and the girls and god knows what else. It might even drive him back to heroin. He hates that, he hates it, he hates himself.

Gina huffs out a laugh and gives him another smile. “She’ll be fine.”

She picks Julia up out of her crib. For a moment, she fusses in Gina’s arms, and Bellamy watches, amazed. Then she’s placing the baby in his arms. He cradles her head and stares down at her. 

She’s the most amazing thing he’s ever seen.

Sixty days old and brand new and no one’s hurt her yet. He knows he can’t be the one to do that. Not like his dad or O’s dad did. He’s gotta step up. So, he holds his baby girl and has to remind himself not to hold on too hard, even though he wants to, desperately. 

“She’s perfect, isn’t she?” Gina asks.

He sniffs away tears and nods, looking at her for only a second before his eyes return to Julia. Gina’s right. She’s perfect. 

“Hey,” he says. “I’m your dad, Julia.” 

His daughter makes a gurgling sound and stares up at him with big brown eyes. Her eyes drift closed and he places her back down into her crib after a moment. Though he finds he almost has to force himself to let her go. He and Gina go back into the kitchen, where she makes tea. He tries his best not to wish it was whiskey. 

“I’m never gonna leave again. I promise.” He shakes his head. “I think I’m gonna quit, end the band right here.” He takes her hand in his. “I’m done, baby. I’ll call up O right now and tell her it’s over. Then we’ll get that house in North Carolina, like you’ve always dreamed. The one with the honeycomb and that view and lots of space for Julia and her siblings. This is all I need. You and Julia. Just our family.”

She laughs and he’s surprised, though, really, he shouldn’t be, Gina knows better, she always has. 

“Sweetheart, I don’t need that right now.” She grins. “The band is part of you, and I won’t be the one who takes that away.” Shrugging, she adds, “You can give me the house in North Carolina some other time, I’m good for now. Just make this album a good one, alright?”

He laughs and replies, “I guess that’s the least I can do.”

Bellamy can feel The Six being on the precipitous of something amazing. Gina understands that he needs the band too. He’s ready to give it all up for her and Julia, but he can’t help but be relieved that she doesn’t want him to do it. 

The Six is more than just his job or even a band, really. It’s him. Every ugly part, every good part. He’s built it from nothing with everything he has. It’s not enough for them to be successful, he wants people to feel it. To connect with his songs. To make them realize things about themselves they never would’ve thought possible. He thinks they can do it, he hopes they can do it. 

The Six are going to be _something_ , he can feel it. 

* * *

Clarke snorts a line while her manager, McCreary, bumbles on over the phone about another photoshoot. 

Her first album is doing relatively well considering she hasn’t made a real name for herself yet. She knows she owes some of that to McCreary, even though she doesn’t want to admit it. He likes to remind her of it every chance he gets though. That without him, she’d be sleeping with musicians instead of being one. 

Well, she is sleeping with _him_ , which she knows isn’t the best idea, but she hardly ever has those. Not unless they concern her music. Even then, no one’s bothered to give her a chance to actually sing her stuff. Her album is a mix of covers and lyrics written by someone else. It’s all other people’s visions that she makes a reality, and she’s tired of it. Never wanted to do it in the first place, but she didn’t have a choice. 

Marcus Kane, one of the best producers on the scene right now, is the only reason she upheld her contract and made the record at all. He reminds her every time she’s down that she’ll have her chance, but Clarke isn’t so sure. She’s thinking about how it feels so hopeless, her whole career. She downs her glass of champagne and it only makes her more sad. 

Then McCreary says something about connecting her with the guy who manages the band The Six, and suddenly, she’s all ears. The band rose to some amount of fame about a year ago, and while they haven’t had a top 100 hit yet, Clarke feels their potential in their first album. 

“What kind of connection?” she asks, wary.

Often, McCreary’s idea of a ‘connection’ is someone who will tell her how to walk, talk, dress, or sing. She isn’t interested in any of that. She’s her own damn person, and no one is gonna make her change. 

“I don’t know exactly, kiddo. He reached out to me.” 

Clarke sits up from her desk and takes the phone into the next room. Her cottage she’s been renting is filled with people at the moment. Though currently she’s struggling to remember any of their names. 

“What’s his name?” she tests, not at all convinced McCreary wouldn’t play her given the chance. 

He thinks she’s some kind of muse, something to encourage other people’s art. Well, fuck that. Clarke has no interest in being the inspiration. She wants to be the one who makes people feel like she knows them without ever meeting them. Her music is gonna touch people, deep down, where it matters. Someone just needs to give her the chance to do it. 

“Gabriel Santiago,” he waits a beat, “he says that Marcus Kane wants you in on a song they’re putting together.”

She swallows hard and feels her heart pound in her chest. She’s thirty percent sure it’s only because of the drugs. Clarke makes herself reign it in, calming herself as much as she’s capable. The Six want her? It can’t be true. There’s got to be something else to it. 

“What’s the catch?” 

McCreary huffs, and she feels him getting annoyed. The way he always does whenever he thinks she’s being difficult. It used to bother her. Now, it just pisses her off. 

“No catch, darling.” He coughs and she rolls her eyes. She hates the damn pet names. “Not that I know of. They’re going into the recording studio next week. Their producer, Marcus Kane, you know already. They’re looking to make a hit, and Kane thinks you could be the ticket. And the frontman just got out of rehab, you would’ve heard about that.”

She huffs. Of course, she knows about Bellamy Blake going to rehab. Everyone does. This town isn’t that big. She senses, despite the good news, that McCreary’s holding something back, and when she presses, she’s proven right. 

Crossing her arms over her chest, she asks, “Do they know Gabriel and Kane want to bring me in?” 

His hesitation is all she needs.

“Fucking perfect,” she seethes. “Real nice. Miss me with this bullshit.”

She’s about to slam the phone down on the receiver when he says, “Relax.” She hates it and hates him and is this close to firing his ass until he adds, “Kane told them he wants to bring someone else in for this one song. It’s called ‘Honeycomb’. I’ll send it along.”

She presses her lips together and McCreary sighs.

“Kane couldn’t shut the fuck up about you, alright? He only wants you for this, no one else was even a contender.” 

She can almost see him run a hand across his mouth as he contemplates the best course of action. He’s good looking, she’ll give him that much. He told her she was something far before she ever thought she could be, and even though she knows better now, she can’t shake him. And not only because he’s the one who introduced her to Seconals so she could get to sleep at night. 

“So,” he goes on, “put on a pretty smile, wear something that passes for real clothes this time, and try not to down the whole case of champagne I’m sending to your place, okay?” 

Clarke wants to kill him, but this is her chance, a real one. To make music she actually believes in. She won’t let that pass her by. She can’t. This is everything to her. 

“Fine, Aye Aye Captain,” she says and does her best not to wince at the sound of her own words. 

“And I’ll see you after, alright? Take you out somewhere nice.”

There’s the added innuendo of her giving him a blow job rather than treating her to dinner, which she doesn’t appreciate but decides to let go. Just this once. After all, her life is gonna change next week. Maybe McCreary deserves a little bit of credit for helping her make that happen. 

“Yeah, yeah.” Someone calls for a ‘Clare’ which she thinks is meant to be her, so she cuts the phone call off short.

When someone offers her more coke, she accepts the line gladly. This is her moment, her time. In a week, she’ll be singing in front of The Six. 

Life is waiting for her, and for once, she feels like she’s close to actually living it, instead of just waiting for it to happen to her. 

* * *

**Bellamy Blake (lead guitar, vocals):** I didn’t need anyone but my girls and my band. I knew I had replaced my addiction to drugs and alcohol and everything else with that love. But I thought it was an improvement, and I guess it was. I believed I could have it all. The rock n roll and the family. I should’ve known better. ( _Pause_ ) Clarke Griffin? God. Clarke just...She changed _everything_. 

**Clarke Griffin (vocals):** My life up until The Six brought me in for ‘Honeycomb’? Well, the thing is everyone wanted me to be the girl who inspired the songs or the art or whatever else. Not the one who made it. Not the one who had the capability of changing people, deep down, where it matters.

I am not the muse. I am the somebody. End of fucking story. 

**Notes for the Chapter:**

> Thank you for reading ❤︎
> 
> Find me on tumblr (@animmortalist)


End file.
